By Michael W. Boyce (auth.)
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Additional resources for The Lasting Influence of the War on Postwar British Film
It is not a particularly passionate embrace, but this marks the first evidence of genuine affection in the Jesson home. Johnson’s emotions, previously reserved for Alec, are finally revealed to and shared with Fred. ”40 Powell’s observation about what he perceived as a dual identity—at once ideal and earthly—fittingly characterizes a quality of Kerr’s screen identity in British films, which Powell himself helped crystallize: the struggle between two identities to form one complex screen persona.
43 Anthony Aldgate and Jeffrey Richards examine contemporary attitudes of “Blimpery” and the political climate in which Powell and Pressburger’s script, “thought ‘defeatist’ ” by some, was produced. Aldgate and Richards emphasize the film’s sympathetic representation of the “New Army of Britain”: “If anything, the filmic rendition of Colonel Blimp singled out the character as being greatly at odds with the times . . ”44 Powell and Pressburger chose 20-year-old Deborah Kerr to play all three female leads in LADOCB: Edith Hunter, Barbara Wynne, and Angela “Johnny” Cannon.
Though they are separate characters, Clodagh and Ruth represent two parts of a whole identity and must symbolically struggle to forge a new identity that incorporates elements of both identities. The Archers take great pains to draw parallels between Clodagh and Ruth. While Mother Dorothea is giving out the assignment of establishing Saint Faith to Sister Clodagh, there are only two sisters about whom the Reverend Mother expresses concern: the absent Ruth, whom she calls “a problem,” and Clodagh herself.
The Lasting Influence of the War on Postwar British Film by Michael W. Boyce (auth.)